Enacting Lecoq: Movement in Theatre, Cognition, and Life. By Maiya Murphy. London: Palgrave MacMillan, 2019. Pp. 225. €72.79/$84.99 Hb.

Abstract

modern scholarship with an intriguing challenge, and one which has the potential to fuel embodied research for years to come. The last chapter of The Players' Advice to Hamlet is not a conclusion, but rather a return to the beginning: to training. Wiles thus points to the circularity of the acting process itself, inviting scholars and practitioners to read the end in light of the beginning.

Thinking again: enaction as a resource for ‘practice as research’ in theatre and performance

“…'continuity of life and mind' (Thompson 2007, 128-129). For more details on an extrapolation from cognition to theatre, see Murphy (2019Murphy ( , 2021. 11 Thompson's talk at 2016's A Body of Knowledge conference called specifically on embodied practices in the arts to be incorporated into the enactivist fold (2017).…”

“…11 Thompson's talk at 2016's A Body of Knowledge conference called specifically on embodied practices in the arts to be incorporated into the enactivist fold (2017). For a discussion on how theatrical practice is both illuminated by enaction and can contribute to its development, see Murphy (2019).…”

“…While many artists and arts researchers naturally invoke variations of the verb 'to enact' for a wide range of purposes, some researchers have more directly engaged with the enactive approach itself, including Zarrilli (2007Zarrilli ( , 2009Zarrilli ( , 2020, Cain (2010), the team of Koch and Fischman (2011), Louckes (2013), Jackman (2013), the duo of Bleecker and Germano (2014) and Murphy (2013Murphy ( , 2017Murphy ( , 2019. While many of these projects might be considered PaR-related because they directly address specific artistic practices, processes, and their dimensions as research, they were not explicitly characterized as PaR projects.…”